Hi @amphitheater! Greetings and glad to hear you are enjoying the lecture! I believe I cover this in future lectures (I think, but now that I think about it, maybe I don’t). Either way, on the selector knob there is a setting for CV/Duty with parallel arrows. This means Bank A outputs CV for frequency control and Bank B outputs the duty cycle or on duration for each step. The step buttons select which step will be triggered and the mini knobs will modulate step control. It’s been a while since I messed with it, but I think that’s right. Can you let me know if I buggered that up or nailed it? 🤓

@@hadlbah that option works for 8 steps but I ask because you're using the 16 step mode (16:42) whereas the duty mode you mentioned only works for 8

@amphitheatre Oh, yeah, you’re right! If only my engineering students were so observant it would make things WAY simpler for me LOL! Okay, what I have is the Duty knob (above ‘function’ button) cranked all the way up so the unit will run the full note length. I set up 1/8 notes and the 1/8 notes are drawn together with 100% duty. I then turned off some of the intermediate steps meaning it counts but does not play. So counting off the merged 1/8 notes (now quarter notes) it becomes: DAA-di-di-di / DAA-DAA-DAA (in 4/4 time). This is how I did it. Let me know if this helped ya.🤓

@@hadlbah thanks! i realized too that you're only using GATE out, without using cv for pitch, allowing you to play via the keyboard, something i hadn't thought of 😎

@@amphitheatre Totally Awesome!!

Nice! Ya know, you touch on a interesting point. If one would choose to use the external signal in with v-trig and no DIY skills…what would that look like? I mean you and I know, but most folks…? This might be a great lecture 8 topic. Do you mind if i credit you in a future lecture for this idea?

@@hadlbah By any and all means. Sharing is caring, as they say.

Thanks. Yeah, it did turn out well. It was fun to pair that groove/swing to the video in my music video “Deepness”

I do remember you buying the vintage MS20. So since you purchased an SQ1 to go with your MS20, I’ll make the assumption that you’re liking it. Excellent! The SQ1 will (should) pair nicely with your FS MS. The only bother will be the 3.5mm to 1/4” patch cables. All of the VC and S-Trig connections are completely compatible.

@@hadlbah yes a set of adaptors fixes that up but you have to remember to set both channels to the 8 volts and set the polarity right

@@simonburns1055 yeah, the polarity thing is the same for the mini too

Ya know, I don’t know. That’s a question for Nishijima-san at Korg. Fumio Mieda didn’t do that on the FS.

Glad you liked it

Hi @Simonburns1055, do you have a question? Happy to try and answer.🤓

As a matter of fact, yes…yes it is. And it’s a joy to use!

My pleasure! Definitely one of my fave tv shows from my youth. It was a blast re-imagining it, mixing up clips from the series and then scoring it. Thank you for your kind words and for watching. The eagle has landed indeed!

Thanks! It took me waaaay too long to finish. And total fist bump 👊🏽 to ya on our shared love of the MS-20!

Oh you bet I did!!! 🎧

It’s completely my pleasure. I’m glad you found it helpful.🤓

Exactly, right? The EG-1 delay is totally a hidden gem. Getting it to trigger with a Moog requires a voltage inversion which my Matriarch handles easily. Hmmmm, maybe that’s a possible lecture topic! 🤔. Thank you for your post and sharing your experience @Cysubtor_8vb!

Hi Perri! That’s a really good question and there are likely a few considerations about noise. Obviously, the fact that I start my response with “a few considerations” is probably telling. Let’s assume there isn’t some recent manufacturing problem at Korg wherein they are shipping defectively noisy MS-20s. That being said, yes she is a touch noisy but not such that it’s an issue…unless you use it in a very special way. If you turn both oscillators down to zero and hit a key on the keyboard, you’ll hear some noise when the gate opens on the amplifier. It’s not line noise (unless there is a power supply problem), it’s internal, well. . . White noise. As soon as you turn up either oscillator, the noise is completely overwhelmed by the oscillator. It seems to be a property of the synth. Besides, is there any other synth that can punch into a mix like an MS-20? It’s a fantastic sonic workhorse and that little bit of noise is truly a non-issue…unless. So, when pairing another synth, like we do in Lecture #1 we can encounter that MS-20 noise if the audio signal in is being routed thru the “legendary” high-pass and low-pass filters. Let’s say you are routing a delicate pad thru the MS-20 filter set, then yes you might encounter some of that “gate noise” until your pad swells enough to drown out the noise. But that use is “edge case” and can be dealt with using a de-esser or EQ8 with a judiciously applied Q. Fumio Mieda, the chief engineer at Korg made the decision to pass a touch of noise thru in order to offer us one of the most sonically complex synths ever conceived. I think he made the right call.

@@hadlbah I was thinking the same! Thank you so much!

Hi Agent007 . . . I had no idea that MI-6 had any interest in MS-20! (hahahaha!) Okay, great question and thanks for asking. EG-1 is possibly the most powerful feature of the MS-20, right behind the legendary high pass and low pass filters. Perhaps the best answer is for you to cruise over and watch my lecture on the subject: Lecture #5 EG-1 and Sonic Sculpting [ kzbin.info/www/bejne/ip_XZ4eJfc-Xg5I ]. Hopefully this gets you up and running. Once you have watched the lecture, let me know what additional info you need and I'll be happy to fill you in. Unless you have already watched the lecture and you are still struggling. Let me know!

It’s totally my pleasure. I’m glad it helps!🤓

So glad to help!🤓

My pleasure!!!

Hello @anonymous_friend! Great question and totally thrilled that you joined the “MS-20/Matriarch Club”. As far as these two synths and synth to synth over-voltage risk: short answer is there is absolutely no risk of damage when patching between these two synths. Hiroaki Nishijima (Chief engineer at Korg) and Mark Crowley (Designer of Matriarch at Moog) are well aware of each other’s products and fully anticipated interconnectivity. In fact, the internal circuitry for both these synths is designed to protect itself from outputs being directly plugged into other outputs. Now there is a caveat and that is other non-synth voltage sources being used. For example, from time to time I use my oscilloscope as a signal generator and if not careful I could easily dump a 50V signal into something…I’m of the opinion this would fry something. So I’m suuuuuper careful when messing about with my “scope.” Otherwise you’ll be fine. Be bold, go crazy and have fun!!!😎

@@hadlbah Thanks for the reply! I would love to see a video from you showing different patches between the two!

@@anonymous_friend that is an excellent idea! I’m finishing up a sample and hold vid lecture presently (Lecture #7). I do touch on MS20/Matriarch integration challenges in Lecture #6. There are CV to Oscillator differences between Moog and Korg that I dive into at 5:07. I also show the stepped triangle from the Matriarch modulation via mult driving the legendary MS-20 high and low pass filter modulation at 10:32. Perhaps this helps touch on a couple of aspects so do cruise on over to my channel and check that out. However a full on integration - like a total “Borg” level integration would be a fun experiment and is a great idea! I’ll definitely give a shout-out on the vid when I post it!😎

@@hadlbah Awesome! Thanks again

Simon! I’m so sorry, I just realized I never answered your question. Did you sort it out or are you still stuck? Please let me know! Again, sorry about missing your question.

Hi there thanks for getting back to me yes im still wonder about where the DMM connects to if you could shed some light on that please sir.@@hadlbah

@@simonburns1055 Hi! Thanks for being soooo patient! Okay, maybe the best thing is to pop open Lecture 4: Lecture 4: Korg MS-20 & SQ-1 Voltage Control Insights kzbin.info/www/bejne/ipSyf62nfcR5o7M If you haven’t yet made your cord I show you what is needed at 3:56. There are a number of ways to connect a DMM to your MS-20 and/or SQ-1. Starting at 6:11 running thru 7:29 I show how to connect for measuring keyboard or sequencer CV out. You will need that doubler I’ve mentioned a few times in earlier lectures. Something like this is just fine: a.co/d/bzw9rul (its an Amazon link, I know it looks creepy. Would it kill them to make it slightly recognizable as an Amazon link?) Anyway, hopefully this helps and if you are still having trouble do let me know. 😎

Completely my pleasure!😎

Hi Christopher! Nice to hear from you and thanks for asking about Spotify. I've posted the entire soundtrack to Soundcloud - hopefully this works for you. Here is the link: on.soundcloud.com/zfgzA

Completely my pleasure!😊

Always super enthusiastic with my students! At least I try to be.😉 And feel free with any questions you may have, Stefan.

@@hadlbah what is that line… x is rhe highest kind of flattery, except in the classroom, so don t do it there. English is not my language of birth.

@@stefanlaforce7905 Ah! ‘Plagiarism’ is the word! This can be your word of the day!!

Glad to be of service!😊

Thank you so much for your comment, Adrian. I completely agree…that will work. I just got super tired of twiddling and listening, twiddling and listening. With the proposed method, once the modal/note progression is decided upon, it’s super fast to dial in the exact voltage and then move on. Additionally, to have any hope of transposing while playing, there is no other way to set the keyboard up as a voltage control device for the SQ1. But there’s more….as a teaching tool it is a super way to gain experience both with the concept of voltage control as well as developing skill with a DMM. I’ve found my DMM super helpful with modular and semi modular patching. So are you telling me you lost touch with your MS20/SQ1? Please say it ain’t so!!!!😁

@@hadlbah haha! Sold my ms20, sq10 and a sh101 with a few other bits in the late 80's for £175! Miss them all!

Fair comment. Maybe I can “re-mix” out the pandemic bit. Tho, it is a bit of a time capsule and it is likely quite a few viewers have lost loved ones due to covid. Perhaps it is a bit of a remembrance. Either way, I do appreciate your comment Steve. Thanks!

@@hadlbah I appreciate it. I've lost family and this means a lot. Getting a sub from me.

@@magusreaver Very sorry to hear of your loss. Holidays can be especially tough. You are in my thoughts.

MS-20 mini Rev 1. Circa 2018, purchased new from Guitar Center in the States. Your question has my curiosity up! Why do you ask?😊

@@hadlbah They don't all sound the same. I listened to a comparison of the original Rev 1 and Rev 2. The Rev 2 sounded boring in comparison. People say about the Mini that it is noisy with many subtle sounds where the filter cutoff is not fully open.

@@drydessert4198 She is a nasty little beast to be sure. I named my MS20 Tonya Harding. Such incredible sounds that certainly can punch thru a mix. Definitely a happy MS-20 owner. Not too sure what to say about gen 2. A bummer if all that gnarly sonic goodness is somehow tamed.

@@hadlbah The comparison video was for the original Rev 1 and original Rev 2 built from 1978 to1983.

Awwww, shucks! So kind!😊

Yeah, you’re not the first to point my faux pas! It’s what happens when an engineering prof attempts to dabble in music composition. Thanks tho for engaging and I’m glad you enjoyed the vid!😊

My pleasure to help!

Hi! Super great question and thanks for asking. I do cover much of your question in lecture 4 wherein we use the MS20 keyboard as the CV to transpose the output from the SQ1. Because the voltage steps change over the span of the MS20 keyboard, one has to be very mindful of how to set up the MS20. And even with that, the useful “in tune” keyboard range is not great. Remember too that once using the MS20 keyboard as a CV means that C3# is not really gonna be C3# but instead 2.050 Volts. Armed with your voltage chart and your chosen scale (Locrian, Mixolydian, etc) you can construct certain transpositions. It’s a puzzle that I think is kinda challenging to solve, but once it’s working it will stay in tune and you are rewarded with a great Korg, punch thru the mix, modal sound. It’s a nice way to build a strong base line. I’d say give Lecture 4 a listen and then bounce me back a note and we can sort out next steps.😊

@@hadlbah o yes i forgot about that video. I just received a new MM that can do the job working out those tables. Will watch it again soon, often. Will also try to transpose with a beatstep pro; unless that gets me into the wrong v/hz vs volt/oct thing.

@@klinkske Sounds like a good experiment! Would love to hear the results.😊

My pleasure! Always a challenge to find the time to post new content.

Great question and thanks for asking! I started with an Ikea drawer slide I had sitting around. It was a bit sketchy but held some promising results so in the spirit of concurrent engineering I halted that concept to try another. The wood beam concept held so much more promise and was so simple that a pivot was obviously the best course. You could try and improve the drawer slide. My next idea was to use Lego. Believe or not we do a lot of teaching undergrad engineering students using Lego. We even modeled the mechanical linkage for the aiming system of a Bradley fighting vehicle using Lego. Does this help jump start you?

Yes! Exactly! We thin the highs and lows whilst preserving some of the lower and higher harmonics. We don’t get to keep all of the highs because we lose some of them with the LPF. And then we leave behind some of the lows with the other side of notch. We do pull through the harmonics though and that’s what makes it special. The notch width is key. Earlier in the video I sweep the band pass filter and it sounds quite different. It’s subtle yet distinct. It’s the use of these different filtering techniques that seeks to separate a good mix from a great mix. Pop on your “Princess Leia Hairdo” and give it a try and I think you’ll likely experience the same nuance. Great mixes are all about exploring and exploiting nuance (imo).😊 Thanks for the great comment!

Absolutely my pleasure!☺️

Thanks for letting me know! Glad to help in any way that I can.☺️

Completely my pleasure! Subscriber questions are the feedstock for this channel.☺️

Hi Sam! If memory serves, I scanned in the blank patch sheet provided with my MS20 and pasted it into a spreadsheet. Then I added all of the bits’n bobs that I wanted to see for my workflow. Probably took me 30 minutes total to make it.

That’s a great idea! TR trig, route thru Ableton to signal process…yeah, I’m gonna mess with that a bit. In the Demonstration vid, my goal was to build a complete kit from MS20 samples: BD,SD, Toms, cymbals, the whole lot. I show only the BD patch in the vid, but I constructed 10 other patches. In this way, I can employ all of the sample processing power of the TR-8S as well as assigning and tweaking the FX and user controls while the patterns are cycling. After all, the TR-8S, being a rhythm performer, is an instrument meant to be played!😁

@@hadlbah ok, i had no idea the tr8s could do more samples. I have the tr8, it only does trig out (midi) so a sampler or alike. If you are posting those other sounds, i ll watch. Thx

@@klinkske It’s the reason I went with the 8s. Being a fellow TR-8 owner, you know how powerful the instrument is and what a blast it is to play. Okay, so my plan is to release “Demonstration 2” wherein these sounds, patches and workflow will be documented and shared. But these things take time …picking away at it though.